by Wei Yi, translated by Jiang Chenxin
On the afternoon of 12 October 2012, Mo Yan appeared at a press conference in a hotel meeting room that has since become famous worldwide. The hotel was in Gaomi, Mo Yan’s hometown, a small city in Shandong province in northeast China. Mo Yan was still wearing the same lilac dress shirt he’d been wearing the night before. He began by fielding two questions from reporters. Most of what he said quickly appeared online and disappeared just as qui...
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In August 1977, [Taiwan-based] writers Peng Ke (彭歌) and Yu Kuang-chung (余光中) went on the offensive against nativist literature (鄉土文學), accusing the genre’s writers of harboring communist sentiments. This turned the debate political and pushed the nativist literature war toward its high point.
Nativist literature started gaining popularity in the early 1970s and referred to a genre that sought to realistically depict the lives and sentiments of ordinary people in Taiwan, reflecting their daily struggles as well as elements of local culture and society.
Lao She’s epic Teahouse, which recounts the tumultuous first five decades of the 20th century through three generations of a Chinese family, was one of the most hotly anticipated shows at the Avignon festival in southern France.
But the new version of the saga about social injustice, hunger and corruption took a critical bashing with French daily Le Monde comparing its “over-the-top special effects” and live Chinese rap and techno music to something that one might see in a “naff stadium rock opera”.
For anyone organizing a poetry reading or other literary event, this article provides a few tips on what to do (and what not to do) as event organizer. Making the job easier for the interpreter helps ensure the success of the event. Any kind of background information is appreciated. Beginner interpreters, don't forget that you can ask for more information!
Sabina Knight on NPR's On Point program.
Broken Wings goes straight for third-rail issues, too, tackling rural poverty, human trafficking, and family planning policy. It’s a tough read, with frequent scenes of brutality, and no happy ending.
Thinking of Mulan as "Chinese" (Sinitic / Han) is like considering everyone and everything in Eastern Central Asia (ECA) (Uyghurstan / Xinjiang) as "Chinese" (Sinitic / Han), when, before about 1,500 years ago, most people in ECA were Indo-European (Tocharians, Iranians, Indians) and, after that, until quite recently (indeed, even now), most people in ECA are not "Chinese" (Sinitic / Han), but rather Turkic.
Thinking of Mulan as an overtly feminine warrior is also off the mark. Judging from the trailer, there will be plenty of fighting scenes where she looks very much like a woman. But listen to the penultimate quatrain of the ballad, which describes her meeting with her fellow soldiers after she had returned home from the war . . .
There is the romanticized view of Tibet in the West as a gentle, enlightened religious paradise, one now cruelly oppressed under Chinese rule. There is also the opposite view, formerly held by Western imperialists, that Tibet is a backwards, savage place ruled by a corrupt religion. This also overlaps with the official historiographical line in China: that Tibet before Chinese “liberation” was an oppressive feudal society. Tsering Döndrup’s vision works against all of these distorted narratives. We certainly can’t see a romantic or idealized Tibet here (the Western tourists in “Ralo” who hold such views are ridiculed), but nor is it a nightmarish, backward society. It has its (many) problems, to be sure, but his exploration of them is thoughtful and concerned, not polemical.
Waste Tide is both thrilling and thoughtful in its reflection on the environmental and human costs of global capitalism. It is set on Silicon Isle 硅屿, a homophone of Guiyu 贵屿, the real-life capital of electronic waste processing near Chen’s hometown of Shantou, Guangdong. In Silicon Isle, as in the real Guiyu, migrant workers toil in hazardous conditions to sort and recycle the remains of our smartphones, computers, and other electronics. Chen describes the scene in heartbreaking detail:
By David Haysom, July 3, '19
My Tenantless Body (我空出来的身体), a bilingual edition of 余幼幼 Yu Yoyo’s poetry, is available now from the Poetry Translation Centre, and this month Yu is touring the UK together with translators A.K. Blakemore and Dave Haysom:
Wednesday 3 July: Coalesce at Rich Mix, London
Thursday 4 July: Young Voices in Contemporary Chinese Poetry, Centre for New and International Writing, University of Liverpool
Sunday 7 July: Yu Yoyo and A.K. Blakemore at Ledbury Poetry Festival
Tuesday 9 July: Poetry Translation Centre Workshop on Xiao An, London
Thursday 11 July: Parallel Annotations, Fruitmarket Gallery, Edinburgh
Friday 12 July: Contemporary Chinese Poetry, International Anthony Burgess Foundation, Manchester
Saturday 13 July: Poetry Translation Centre Workshop in Manchester
Monday 15 July: New in Translation: Poetry and Fiction in China at the Leeds Centre for New Chinese Writing
More details at the Poetry Translation Centre website
By Dylan Levi King, June 11, '19
Digging into Paper Republic's archives, there's plenty of discussion of Jia Pingwa—when is he going to make it into translation? What the hell is going on?
Since 2016, five of Jia's novels have been translated, we might see two more before the end of the year, and at least three more are on the way.
The crop of Jia Pingwa books in translation have mostly been harvested from the author’s more recent works, but The Earthen Gate 土门, is the book that returned Jia to grace after the dark days that followed the ban of Ruined City 废都 in the early-1990s.
I’ve always thought that Ruined City and the three books that followed—White Nights 白夜, The Earthen Gate, and Old Gao Village 高老庄—were Jia’s best, so it’s nice to see that two have finally made it into English. The University of Oklahoma Press put out Howard Goldblatt’s translation of Ruined City in 2016, and Valley Press commissioned Hu Zongfeng 胡宗锋 of Northwest University 西北大学 to translate The Earthen Gate.
The Nuosu people, who were once overlords of vast tracts of farmland and forest in the uplands of southern Sichuan and neighboring provinces, are the largest division of the Yi ethnic group in southwest China. Their creation epic plots the origins of the cosmos, the sky and earth, and the living beings of land and water. This translation is a rare example in English of Indigenous ethnic literature from China.
Translated by Mark Bender and Aku Wuwu
Beijing Jinjiang Networking Technology Co. was put under investigation by local authorities on Thursday for allegedly disseminating obscene information, China News Service reported last week. China Literature holds 50% of Beijing Jinjiang, according to its annual report. The Shanghai city government had ordered China Literature to clean up another website earlier that week, after it was found of spreading “vulgar and pornographic” information.
. . . there is one tricky (but very enjoyable) challenge with Tsering Döndrup’s work, and that is his tendency to use Chinese words and phrases in his fiction. Many Tibetan authors avoid this for a variety of reasons, but Tsering Döndrup is quite unique in his desire to bring this issue of language to the fore in his writing. He wants to highlight the effect that Mandarin is having on modern Tibetan, especially the fact that many Tibetans have little choice but to experience many aspects of life in modern China through Chinese. In some of his recent work he has used Chinese characters [ed. hanzi] directly in the text. In the stories in this volume, however, he renders them phonetically in Tibetan. These spellings (Tibetan has an alphabetical writing system) are of his own invention, and to all intents and purposes they come across as gibberish (imagine making up your own spellings of Chinese words in an English short story). I specialize in Chinese literature, and I still couldn’t figure out what some of the words were on my own, even when he included a Tibetan translation in parentheses.
By Helen Wang, May 31, '19
Translating Chinese Poetry - workshop with JOHN MINFORD, Univ of Exeter, 26-27 June - Free, but must register - contact Dr Yue Zhuang ( Y dot Zhuang at exeter.ac.uk)
Two Lines Press is “currently working on a special project collecting translated fiction by contemporary Chinese-language writers (not restricted to mainland China). We’re calling on Chinese–English translators to submit fiction that explores alternate worlds, using elements of mythology and folklore, magical realism, and/or surrealism. In particular, we’re interested in seeing how authors are using these elements to address issues such as rapid urbanization, female sexuality, gender, climate change, etc. As always, we’re looking first and foremost for exceptional, dynamic works of literature, translated expertly into English.”
Award-winning Chinese-to-English translator Nicky Harman discusses the process of translating language as well as violence in literature with her latest translation of Jia Pingwa’s Broken Wings.
New audiobook imprint, Silk Gauze Audio, has published an audiobook of Rickshaw Boy by Lao She. The Howard Goldblatt translation of Camel Xiangzi (骆驼祥子) is narrated by Jason Wong. An accompanying ebook contains a glossary of all the text’s Chinese names in characters/pinyin and new annotations. Recordings of two Lao She short stories, translated by Don J. Cohn, are also currently available for free on the imprint website: https://www.silkgauzeaudio.com.
-- Silk Gauze Audio founder, Nicola Clayton, is an award-winning audiobook producer and graduate of Modern Chinese Studies (Leeds University).
“Over the next few years, Penguin Random House SEA aims to build a catalogue of about 500 titles. While the titles it is publishing so far are in English, it is also looking into translating works in other languages.”
Welcome to etvo’s inaugural post on random translation musings, in which I share some thoughts on possible best practices and reflections after two years of webnovel translations.
Conference scheduled to be held at NYU Global Studies Center, Prague: 17-19 October 2019
Applications should consist of a title, three-hundred word proposal, and one-page CV, due on May 31, 2019. Accommodations will be available for participants and some funds may be possible for travel assistance within continental Europe.
Possible topics include:
The reception history of expurgated, bowderlized, and censored texts
- Textual histories of self-censored texts and later full republication
*Publishing, marketing, and openly advertising censored texts
And more. . .
By Dylan Levi King, May 3, '19
I've got a Twitter timeline full of 5G hysteria, Huawei backdoors, GitHub protests against the tech sector practice of 996 working hours (9 a.m. to 9 p.m., six days a week), the UAE running a drone war in Libya with Chinese tech, a Chinese developer getting nabbed for leaking a wildcard SSL key, Committee on Foreign Investment in the United States pressuring the Kunlun Group to sell Grindr, etc. etc. etc.—the world runs on but seems deeply anxious about Chinese tech.
That makes Pang Bei's Unicorn, a cautionary fable set in the present day Shenzhen tech world, very timely.
Review of Yan Ge's White Horse by Chitralekha Basu: "Told from the point of view of a 10-year-old girl, it is a story in which adults make a mess of their lives and let it all hang out. In certain ways White Horse could be a precursor to The Chilli Bean Paste Clan, in which a teenage girl in a mental health facility imagines the excesses her middle-aged father and his siblings — inheritors of a chilli paste manufacturing enterprise in Sichuan — are indulging in. In both stories, dark family secrets tumble out of cupboards, rupturing the clan’s foundations. However, while The Chilli Bean Paste Clan is unsparing in exposing the sordid inter-personal relationships between the members of a dysfunctional family, White Horse is more tender — observing, as it were, the complicated, irredeemable world of grown-ups from a distance."
White Horse is published by HopeRoad Publishing.
“I don’t have sales or publication figures at my disposal so this may not be the full picture, but it certainly feels as if there is a larger conversation happening around Chinese literature,” says Jeremy Tiang, an author and Chan Ho-kei’s translator. Tiang is also the managing editor of Pathlight, an English-language literary magazine focused on new writing from China.
“Part of this may be China’s increasing influence on the world stage. It may also be down to publishers waking up to the variety of Chinese literature available — moving beyond the big names and seeking out hidden gems such as Wu Ming-Yi (The Stolen Bicycle, translated by Darryl Sterk). There are also more agents working with Chinese writers.”
“The act of subtitling lets you appreciate a film in a way that you would never get by simply watching it. You have to watch it at least three times, and you also have to empathise with every single character in order to effectively translate what they’re saying. So by the time you deliver your subtitles, you have already spent several days with these characters, getting to know them. You are so much more invested in it – as long as the film is a good one. If the film is substandard, then you are trapped in the company of these awful characters, and still forced to empathise with their terrible decisions!”
By Eric Abrahamsen, April 24, '19
The National Consortium for Teaching about Asia administers the Freeman Book Award, given to a children's or young adult book from or about an Asian countries, which has potential to be used in an educational setting. Books must be in or translated into English, and published in the US in the past year. The next submissions deadline is August 31st, 2019.
See this link for details.
By Dylan Levi King, April 19, '19
This is the record of a few days spent with Jia Pingwa and Nicky Harman in Xi'an and environs, as we prepare a translation of Jia's Qinqiang for AmazonCrossing.
I’d already spent the last several days with Jia Pingwa, hanging out in Xi’an and going down to the countryside, but, sitting at a table with the author one night at in Sichuan restaurant off the Second Ring Road in Xi’an, I was dying to do what I’m sure many people have already done: tell him how I first came to read Ruined City.
I think I wanted his approval, to prove to him that I was connected to his works or that I could understand it and that I was the right person to translate it, even if that decision was no longer in his hands.
“The Ma Jian I translate is a very different entity from the Ma Jian I live with,” says Drew. “There is never any confusion. I never feel I’m translating the words of the person I’ve just had supper with, or who’s just taken our children to the park. Knowing him so well though means I can in some strange way become him, and write the translation not as a friend or a translator, but as Ma would if he were writing the book in English...“
He talks of foreign powers recruiting spies on the Suzhou Creek, while there were Germans who had fled the Nazis to the city. He discusses the crazy visits of celebrities such as American playwright Eugene O’Neil, Harlem poet Langston Hughes, Swallows & Amazons author Arthur Ransome and British occultist Aleister “The Beast” Crowley. There were even Russian refugee chorus girls who later became Hollywood stars, and numerous writers who found their muse in the City. But amid the cosmopolitan wealth, there were also murders and crimes of passion that characterised the darker side of Shanghai’s glory.
One might argue that Li Liuyi’s boldest decision—translating the play into Sichuan dialect—is partly influenced by Lao She’s own commitment to reflecting the Beijing dialect in his script. Lao She was a Manchu writer whose novels and plays are famous for their “Beijing flavor.” For that reason, Teahouse may be one of the best examples of a canonical spoken drama that has been influenced by a regional dialect. It stands in opposition to much of the history of huaju: a genre that has positioned itself as a national art form that champions standardized Mandarin. While regional genres of Chinese opera are still performed in dialect, opportunities to see established spoken dramas in languages other than Mandarin are few and far between.
Today’s Doodle celebrates the life and work of Chinese-born Taiwanese writer and translator Chen Mao Ping, known to her readers as Sanmao. Born in Chongqing, China on this day in 1943, Sanmao moved to Taiwan with her family as a young girl. She went on to become a prolific author and world traveler whose moving prose, independent spirit, and thirst for knowledge touched millions.
CONGRATULATIONS to Can Xue and translator Annelise Finegan Wasmoen!
There are lots of reviews online: here are a few...
Yale UP book page
By Nicky Harman, March 13, '19
Paper Republic, One-Way Street Magazine and the LA Review of Books’ China Channel publish new essay by Chinese writer Liang Hong, translated by Michael Day.
Paper Republic is delighted to announce the publication of a new creative non-fiction essay. This marks the launch of a second series of Read Paper Republic: China Dispatches, a unique three-way collaboration between Paper Republic, One-Way Street Magazine (单读) and the Los Angeles Review of Books’ China Channel. The series focuses on translating the best non-fiction coming from China right now – and making it available online, completely free to read.
The first instalment – “A Fortune-teller in a Modern Metropolis” by Liang Hong – is translated by Michael Day. The essay tells the story of Xian Yi, a man in an old profession that is curiously out of step with modern China.
. . . Döndrup, who is originally Mongolian but widely recognised as one of the most important writers in Tibetan of recent decades, has provided a vital and entertaining collection, mostly set in the fictional county of Tsezhung, a rural nomad locale along the real-life Tsechu River in his home region of Malho, Qinghai. Translated brilliantly from the Tibetan by Peacock, the stories humanize the nomadic Tibetan people while satirizing their society as one plagued by gambling, prostitution and religious hypocrisy.
[scroll down, click on Kevin McGeary]
Maoist groups and websites on the Internet violently attacked the novelist for alleged sympathy towards landowners and a desire to discredit land reform and thus the legitimacy of the CCP. The book should never have been published. It is “historical nihilism”, a distortion of history...
This is one of the sharpest, funniest articles we've read in a while. Julie Sullivan Winn writes: "I’d like to ask a rude question. Why do people translate Chinese verse into English rhyme? Please stop! Burton Watson called faithfulness to the original and literary merit in the translation the Two Noble Truths for translators. By both of those criteria, translating into rhymed English is a bad idea."
Read on, and enjoy...
In which the Paper Republic 2018 roll call of translations gets another outing: "...Celebrating this year’s Chinese New Year of the Pig, I discuss translating China with Nicky Harman on the launch of Paper Republic’s roundup of the most recent publications in English translation. Their 2018 roll call features thirty-three novels, six poetry collections and three YA and children’s books...."
......a recurring meme. A fan – almost always a young, attractive female – will post a picture of herself holding a copy of one or more of Feng Tang’s works. She will strike an appealing pose, maybe add a few hearts or kissing emojis, or even wish the author a happy Valentine’s Day and refer to him as a “dream boy.” Feng then reposts the message on his own Weibo page, with a suggestive phrase such as “we are really enjoying ourselves tonight.”
Now a renowned author based in China’s capital, narrator Guo is back for a visit to the Inner Mongolian village where he grew up speaking the language of his people. One day he finds himself at the summit of Mt. Gahai, the location of an ovoo — a heap of stones marking a sacred site — said to be a Shaman’s altar . . .
By David Haysom, February 15, '19
Since its release on the first day of the Lunar New Year, The Wandering Earth (流浪地球) – 郭帆 Frant Guo’s adapatation of the Liu Cixin novella (translated into English by Holger Nahm) – has been setting box-office records, upending expectations of what a Spring Festival blockbuster can be, and apparently even inspiring a Durex ad:
Here’s a round-up of some of the responses.
SOAS Centre for Translation Studies will be hosting a Chinese Translation Workshop: Translating Cultures, Literature, Films, and Non-Fiction on 28 and 29 March 2019.
Confirmed presenters and tutors are :
Robert Neather (HKBU, Hong Kong)
Wai-Ping Yau (HKBU, Hong Kong)
MA Huijuan (BFSU, Beijing)
Nicoletta Pesaro (Ca' Foscari University of Venice)
Claudia Pozzana (University of Bologna)
Marie Laureillard (Institut D'Asie Orientale, Lyon)
Cosima Bruno (SOAS, University of London)
Tickets here: https://store.soas.ac.uk/product-catalogue/conferences-events/international-academic-events/translation-workshop-by-cts-march-2019?fbclid=IwAR3LLD5BrDrrN3NrdLd_K06Y3-nCsrYbPc6QxIJi8fuFmTew54Hg-bjGnho
Warwick Translates is the first literary translation summer school to be held at the University of Warwick. The course will be taught in an all-day workshop environment using a variety of texts including non-fiction (essays, journalism, academic) and fiction (poetry, fantasy, children's literature and crime writing etc.) There will be plenty of opportunities for networking with publishers, agents, Warwick staff and one another. Lunch time events will include discussion panels with publishers and editors. Evening events will include a Translation Slam and a Keynote Lecture by Preti Taneja entitled ‘Translating Shakespeare in conflict and post-conflict zones: the challenge to “universal” human rights’.
As the workshops are all into English, it is essential that all applicants to the course are English mother-tongue level. The Chinese-to-English option will be taught by Nicky Harman.
WHEN: 6th - 10th July 2019. 10am - 4.30pm daily plus evening events.
Asian Books Blog runs its own literary award: the Asian Books Blog Book of the Lunar Year. We are about to confer the award for the Year of the Dog, just finished. Asian Books Blog highlights books of particular interest in, or especially relevant to, Asia, excluding the Near West / the Middle East. And, by the way, there are two translations from Chinese on the shortlist.
Voting closes at 5pm on Friday February 15, 2019, Singapore time.
Following on from last week's post about the Oxford Dictionaries Hindi word of 2018, Paper Republic have nominated their Chinese word of the year for the Year of the Dog, just closed.....
PS we'd love to credit the artist of this picture, currently anon. Let us know, please!
Good deeds, good returns.
Bad deeds, bad returns.
The Chinese Dream.
Not that it doesn’t come back.
Zao you zaobao, wan you wanbao.
Morning has morning papers, evening has evening news.
Early deeds, early returns.
Late deeds, late returns.
Late returns after gambling.
Famous party secretary, famous police chief,
they are in prison now. Or one is dead?
Killed a British guy, now they imprison Canadians.
Anyway, my poem.
Frankly speaking, we took this to a new level in Confessions, because many of the terms — perhaps most — that we Romanized in the novel were conveyed mainly or entirely by standard Chinese in the original. They appeared frequently throughout, and I felt that they conveyed something essentially Uighur, so we used transliteration to underline this.
They included: various terms for friend/brother (adash, aghine); foods such as süt chay (milk tea); rexmet (thanks); terms for jade mafiosi (Ghojam, Xojayin); karwat (a couch-like piece of furniture for lounging indoors, or outside in the shade)...
"....Broken Wings is a disturbing read for other reasons too: Jia Pingwa hints at Butterfly's impending mental breakdown, and presents us with an eventual rescue which may, or may not, be a dream sequence. Will Broken Wings appeal to English-language readers and if so, why? "
By Nicky Harman, January 27, '19
For interested readers, here's an online newsletter, launched May 2018 and now twice-monthly. They feature Chinese longform in translation and also some original English submissions by Chinese authors. The founder and publisher is Colum Murphy, a veteran Asia-based journalist, and Min Lee is the current editor and lead translator. They would love to hear from the translation community, be it comments, suggestions or story ideas.
Sidik Golden MobOff had turned his cell phone off again, so he was the only no-show for our evening tipple. The latter part of his double-barreled nickname, “MobOff,” was another tag pinned on him by his mates.
After he retired, his routine was to power off after an hour or so in the morning, and keep it off during the afternoon to avoid indulging with his meat-and-liquor sidekicks. This was in deference to Big Sister Roxian, his granny of a wife devoid of feminine appeal, who watched over him like a hawk. She’s ancient and her mouth is capable of the most vulgar invective, so it was no easy feat to catch a glimpse of our old brother’s crafty countenance.
If you went to his place to ask him out, from behind the slightly ajar door the crossgrained, eyebrowless mug of his deranged old lady appeared, her wild feline eyes glaring at you:
“I’m on the lookout, but I haven’t seen him either!” was her time-honored response.
Big Sister Roxian looks no different than the victim of a kidney heist—vindictive, as if today were the end of the world. She’s revolting.
By Bruce Humes, January 21, '19
China-based publishers are notorious for a misleading practice: the nationality of the author — not necessarily the language of the source text — is often noted on the spine or copyright page. Thus the reader may well believe she is reading a novel translated direct from the Swahili, when the source text is actually the English rendition of a Swahili original...
If you're interested in reading and/or adding to several comments on this topic, please click:
And see the comments immediately below the article itself.